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“The Love That Dare Not Speak Its Name” – the Queerness of Horror

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“The Love That Dare Not Speak Its Name” – the Queerness of Horror “The Love that Dare Not Speak its Name” – The Queerness of Horror Diplomarbeit Zur Erlangung des Magistergrades an der Anglistik/Amerikanistik Fakultät der Paris-Lodron- Universität Salzburg Eingereicht von Nicoline Schönhofer 01220351 Gutachter: Univ. Prof. Dr. MA. Ralph Poole Fachbereich: Anglistik und Amerikanistik Salzburg, Mai, 2018 Acknowledgements I would like to thank those who have motivated me not only through the process of writing this diploma thesis but also who supported and encouraged me on my journey from receiving my high school diploma to graduating university. Univ.-Prof. MA. Dr. Ralph Poole, who rekindled my love for film during my last class of my college career and made me curious about the queer world of horror. I especially want to thank him though for taking time out of his busy schedule and being my supervisor for this thesis even though he is currently on sabbatical leave. My mother, who I owe so much too, as she has always been my biggest supporter in everything I set my mind on. She made it possible for me to study abroad in the United States for a year at the young age of fifteen, which shaped me into the person I am today and encouraged me to gain more independence and to expand my horizon even further by participating in another exchange after my third year of college. For these experiences I am very grateful. I also want to thank her for accepting me for who I am and giving me advice when I needed it. My father, who has never failed to encourage me to chase after my dreams and that everything is possible if I work hard enough, and also for always knowing how to lift me up when I am down. My stepfather, who explained the world to me and can always give me answers to life’s mysteries. But most importantly I want to thank him for loving me like one of his own and the bond we share. My grandmother for dedicating her life to her grandchildren and gifting my brother and I with the most glorious childhood a kid could ask for, and for always listening to the endless stories I insisted on telling her. 2 | Page All my friends, old and new ones, who I laughed and cried with, and who I will continue to conquer the hardships life throws at us, as we take our final steps into adulthood. For the countless memories I have collected on the way and will cherish for a lifetime. Salzburg, May 2018 Nicoline Schönhofer 3 | Page Eidesstattliche Erklärung Hiermit versichere ich an Eides statt, dass ich die vorliegende Magisterarbeit ohne fremde Hilfe und ohne Benutzung anderer als der angegebenen Quellen und Hilfsmittel angefertigt und die den benutzten Quellen wörtlich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Die vorliegende Arbeit wurde bisher in gleicher oder ähnlicher Form noch nicht als Bachelor-/ Master-/ Diplomarbeit/ Dissertation eingereicht. ______________________ __________________________ (Ort und Datum) (Unterschrift) 4 | Page Zusammenfassung Diese Diplomarbeit beschreibt die Konstruktion von Homosexualität in den 1930er Jahren, um einen Einblick in das homophobe Umfeld zu geben, in dem die damaligen Regisseure arbeiten mussten und wie die auferlegten Regeln und Einschränkungen der „Production Code Administration“ solche Werke beeinflussten. Ein Diskurs über eine geheime lesbische Gemeinschaft legt nahe, dass Homosexualität häufiger und weiter verbreitet war als vermutet und bietet ein Beispiel dafür, wie queere Gruppen dieser Zeit mit der heteronormativen Gesellschaft interagierten. Darüber hinaus werden wichtige Begriffe der Queer-Theorie definiert und eine Erklärung gegeben, wie „Queer“ gelesen werden kann. Außerdem werden die seltsamen bzw. queeren Eigenschaften, die im Horror-Genre zu finden sind, beschrieben, um die zugrunde liegenden Themen zu zeigen, die oft impliziert werden. Ein weiterer Diskurs über die „Queerness“ von Vampiren dient als wichtiges Instrument bei der Analyse dieser These. Die Analyse ist der wichtigste Teil dieser Arbeit und beschäftigt sich mit der „Queerness“ von James Whales Horrorfilm The Old Dark House, welcher 1932 produziert wurde. Sie konzentriert sich auf drei Teile, nämlich die queeren Charaktere des Films, die Interaktionen, die als queer gelesen werden können, und die Frage, ob die Schurken der Geschichte mit den Charaktereigenschaften eines typischen gotischen Bösewichts übereinstimmen. In den Ergebnissen wird deutlich, dass die analysierten Charaktere alle eine gewisse „Queerness“ aufweisen bzw. ausstrahlen und dass ihre Interaktionen miteinander im übertragenen Sinne die Darstellung von Homosexualität in der Zeit, in der der Film produziert wurde, zeigen. Sie können als Sticheleien gegen diese heteronormative Gesellschaft angesehen werden, die Whale dazu benutzt hat, solche verzerrten Ansichten über eine von der Norm abweichende Sexualität zu kommentieren. Das letzte Unterkapitel über die Bösewichte des Hauses bestätigt, dass sowohl Morgan als auch Saul die Elemente erfüllen, die normalerweise in einem gotischen Bösewicht vorkommen. 5 | Page Abstract This diploma thesis describes the construction of homosexuality in the 1930s to give insight on the homophobe environment directors of the time had to work in and how the imposed rules and restrictions by the Production Code Administration affected such works. A discourse on a secret lesbian community suggests that homosexuality was more prevalent and widespread than suspected and offers an example of how queer groups of the time, interacted with the heteronormative society. Furthermore, important terms to queer theory are defined and an explanation on how to ‘read queer’ is given. In addition, the queer characteristics that can be found in the horror genre are described to show the underlying themes that are often implied. Another discourse on the queerness of vampires serves an important device in the analysis of this thesis. The analysis is the most essential part of this thesis and deals with the queerness of James Whale’s 1932 horror film, The Old Dark House. It focuses on three parts, namely, the queer characters of the film, the interactions that could be read as queer and the question if the villains of the story match the character traits of a typical gothic villain. It becomes clear in the results, that the analyzed characters all exhibit some form of queerness and that their interactions with one another figuratively serve as outlets to show the representation of homosexuality in the era the film was produced in. They can be taken as jibes against this heteronormative society, which Whale used to comment on such distorted views of a sexuality deviating from the norm. The final subchapter on the villains of the house confirm that both, Morgan and Saul fulfill the elements usually found in a gothic villain. 6 | Page Table of Contents 1. INTRODUCTION ............................................................................. 9 2. HOMOSEXUALITY – COLORING OUTSIDE THE LINES .................. 11 2.1. THE CONSTRUCTION OF HOMOSEXUALITY IN THE 1930S ........................... 11 2.1.1.MORE COMMON THAN SUSPECTED – A LOST STUDY ON LESBIANISM (BULLOGH 895-904) ................................................................................. 12 2.2. HOMOSEXUALITY FROM A MEDICAL STANCE ........................................... 15 2.2.1.PIONEERS: KARL FRIEDRICH OTTO WESTPHAL, KARL HEINRICH ULRICHS, HAVELOCK ELLIS, AND MAGNUS HIRSCHFELD ......................................... 15 2.2.1.1.KARL FRIEDRICH OTTO WESTPHAL................................................... 16 2.2.1.2.KARL HEINRICH ULRICHS.............................................................. 16 2.2.1.3.HAVELOCK ELLIS ........................................................................ 17 2.2.1.4.MAGNUS HIRSCHFELD.................................................................. 19 2.2.2.CRITICS: SIGMUND FREUD AND WILLIAM STEKEL .................................... 22 2.2.2.1.SIGMUND FREUD ........................................................................ 23 2.2.2.2.WILLIAM STEKEL........................................................................ 24 3. THE QUEERNESS OF HORROR ...................................................... 26 3.1. HOMOSEXUALITY IN FILM ................................................................. 26 3.1.1.JAMES WHALE .............................................................................. 26 3.2. RULES AND CONVENTIONS OF THE HORROR GENRE .................................. 35 3.2.1.THE HAYS CODE ........................................................................... 35 3.2.2.RESTRICTIONS THAT BACKFIRED ........................................................ 38 3.2.3.THE GOTHIC (QUEER) VILLAIN .......................................................... 39 3.2.3.1.CHARACTERISTICS ...................................................................... 39 3.2.3.2.QUEER CHARACTERISTICS ............................................................. 40 3.3. QUEER THEORY – READING QUEER ..................................................... 41 3.3.1.A VAMPIRE’S BITE – A KISS IN DISGUISE ............................................ 44 3.3.1.1.THE BITE AS A SEXUAL ACT ........................................................... 44 7 | Page 3.3.1.2.A QUEER INTERPRETATION OF VAMPIRISM – “ISN’T IT OBVIOUS?!” ............ 46 4. ANALYSIS .................................................................................... 50 4.1. WHALE’S QUEER WORK .................................................................. 50 4.1.1.THE OLD DARK HOUSE ..................................................................
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